( 您好!臺灣時間:2021/03/08 14:51
字體大小: 字級放大   字級縮小   預設字形  


研究生(外文):Shu-Yao Chu
論文名稱(外文):Song Uses and Audience Experiences of Korean Idol Dramas: a Study on My Girl, You’re Beautiful, and Secret Garden
外文關鍵詞:idolempathytheatrical musicaudience studyphysiological-emotional response
  • 被引用被引用:0
  • 點閱點閱:433
  • 評分評分:系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:3

This study looks at how songs function in idol Korean dramas, and analyzes the visual and aural perception of these songs. Songs in Korean dramas help to increase female viewers’ identification with female protagonists, as well as increase their empathy towards the plot lines and the characters involved, thereby creating a stronger impact on the viewers. Musical analysis revealed that the contrasts in texture, melodic contours, instrumentation, rhythm and harmony between verses and choruses help reinforce plot developments and emotions arising from the drama. An analysis of the interrelationship between music, plot lines, emotions and cinematography techniques revealed that songs are more often used to reinforce the sorrow during “outside-in” situations (i.e. inner emotions stirred up by external circumstances), and are also often coupled with close-up shots of the protagonists’ faces. Finally, physiological measurements collected from nine female viewers knowledgeable of Korean dramas were used to analyze visual and aural perception, in an effort to gauge their emotional shifts while watching Korean dramas. The results show that humorous plot lines or manly actions from male protagonists evoke contraction of the zygomaticus major (i.e. causing them to smile); when the protagonist makes sacrifices out of love, or when viewers feel love and compassion on the part of characters in the drama, a rise in finger temperature in most viewers is detected; and close-up shots of a heartbroken protagonist cause the finger temperature in most viewers to fall. This study paints a preliminary picture of how songs are employed in Korean dramas, and offers a new approach for future studies in visual and aural perceptions through the use of objective physiological measurements.

Keywords: idol; empathy; theatrical music; audience study; physiological-emotional response

第一章 緒論 1
第一節 研究動機 1
第二節 研究範圍與目的 2
第三節 文獻回顧 3
一、偶像劇及偶像與粉絲關係 3
二、電影配樂 4
三、音樂與情緒 7
四、歌曲曲式 10
第四節 研究方法與限制 11
一、音樂文本分析 11
二、戲劇文本分析 16
三、閱聽行為研究 17
第二章 偶像劇與歌曲文化 18
第一節 偶像與粉絲的特質 18
第二節 偶像與粉絲的關係 20
第三節 劇中偶像的歌唱行為 23
第四節 歌曲與情緒感染 26
第五節 小結 27
第三章 歌曲的音樂分析 28
第一節 「主歌-副歌」曲式的情緒鋪陳 29
第二節 速度 31
第三節 旋律與和聲 33
一、《秘密花園》〈那個男人〉 34
二、《原來是美男》〈默默無語〉 40
三、《我的女孩》〈愛上鯊魚的人魚〉 45
第四節 音色與音量 51
第五節 小結 52
第四章 歌曲的戲劇運用 54
第一節 歌曲的戲劇功能分類 54
一、外內型 55
二、決定型 55
三、掩飾型 56
四、今昔型 56
五、預感型 57
第二節 編碼分類與統計方法 58
第三節 研究結果 58
第四節 討論 60
一、歌曲與劇情的關聯 61
二、歌曲與情緒的關聯 69
三、歌曲與鏡頭的關聯 72
第五節 小結 77
第五章 閱聽行為的生理測量研究 79
第一節 研究背景與實驗目的 79
第二節 實驗方法 79
第三節 實驗結果與戲劇音樂文本分析 80
一、《祕密花園》第二集 80
二、《祕密花園》第九集 82
三、《秘密花園》第十七集 84
四、《祕密花園》第十八集 85
五、《秘密花園》第十九集 87
第四節 討論與小結 89
一、顴肌收縮 89
二、手指溫度 90
第六章 結論 91
附錄一:受試者問卷 94
附錄二:《我的女孩》〈愛上鯊魚的人魚〉譜 95
附錄三:《原來是美男》〈默默無語〉譜 100
附錄四:《秘密花園》〈那個男人〉譜 105
參考文獻 109

Ali, S. O., &; Peynircio&;#287;lu, Z. F. (2006). Songs and emotions: are lyrics and melodies equal partners? Psychology of Music, 34(4), 511-534.
Ames, D. L., Jenkins, A. C., Banaji, M. R., &; Mitchell, J. P. (2008). Taking another person''s perspective increases self-referential neural processing. Psychological Science, 19(7), 642-644.
Bandura, A. (1969). Principles of behavior modification. New York: Holt, Rinehart &; Winston.
Beck, A. T. (1997). The past and future of cognitive therapy. The Journal of Psychotherapy Practce and Research, 6(4), 276.
Boltz, M. G. i (2001). Musical soundtracks as a schematic influence on the cognitive processing of filmed events. Music Perception, 18(4), 427-454.
Boltz, M. G. (2004). The cognitive processing of film and musical soundtracks. Memory &; Cognition, 32(7), 1194-1205.
Bullerjahn, C., &; Guldenring, M. (1994). An empirical investigation of effects of film music using qualitative content analysis. Psychomusicology: Music, Mind &; Brain, 13(1), 99-118.
Chen, H.-W., Kuo, J.-H., Chu, W.-T., &; Wu, J.-L. (2004). Action movies segmentation and summarization based on tempo analysis. Paper presented at the Proceedings of the 6th ACM SIGMM international workshop on multimedia information retrieval, 6,251-258.
Cheng, S.-T. (1997). Psychological determinants of idolatry in adolescents. Adolescence, 32(127), 687-692.
Codispoti, M., Surcinelli, P., &; Baldaro, B. (2008). Watching emotional movies: Affective reactions and gender differences. International Journal of Psychophysiology, 69(2), 90-95.
Cohen, A. J. (2001). Music as a source of emotion in film. In P. N. Juslin &; J. A. Sloboda (Eds). Music and emotion: the theory and research, pp. 249-272. New York: Oxford University Press.
Cohen, A. J. (2002). Music cognition and the cognitive psychology of film structure. Canadian Psychology, 43(4), 215-232.
Cumbow, R. C. (1987). Once upon a time: the films of Sergio Leone. Scarecrow Press.
Davis, S. (1985). The craft of lyric writing. Cincinnati , Ohio: Writer''s Digest Books.
De Wied, M., Boxtel, A. V., Posthumus, J. A., Goudena, P. P., &; Matthys, W. (2009). Facial EMG and heart rate responses to emotion&;#8208;inducing film clips in boys with disruptive behavior disorders. Psychophysiology, 46(5), 996-1004.
Durkheim E. (1915/1947) The elementary forms of religious life (translated by J. Swain). Glencoe, IL: Free Press.
Eisenstein, S. (1977). Film form: Essays in film theory. California: Harcourt.
Eschrich, S., Munte, T. F., &; Altenmuller, E. O. (2008). Unforgettable film music: the role of emotion in episodic long-term memory for music. BMC Neuroscience, 9(1), 48.
Felicia rodicaes, J. A., Mircea Miclea, Andrei C. Miu. (2011). Emotions induced by operatic music: Psychophysiological effects of music, plot, and acting. Brain and Cognition 76, 146-157.
Frith, C. D., &; Frith, U. (2006). The neural basis of mentalizing. Neuron, 50(4), 531-534.
Gabrielsson, A., &; Lindstrom, E. (2001). The influence of musical structure on emotional expression. In P. N. Juslin &; J. A. Sloboda (Eds). Music and emotion: the theory and research, pp. 223-248. New York: Oxford University Press.
Gagnon, L., &; Peretz, I. (2003). Mode and tempo relative contributions to “happy-sad” judgements in equitone melodies. Cognition &; Emotion, 17(1), 25-40.
Gendolla, G. H. (2000). On the impact of mood on behavior: An integrative theory and a review. Review of General Psychology, 4(4), 378 -408.
Gorbman, C. (1980). Narrative film music. Yale French Studies, 60, 183-203.
Grout, D. J., &; Palisca, C. V. (1996). A history of Western music. New York : WW Norton &; Company, Inc.8th ed.
Hanjalic, A., &; Xu, L.-Q. (2005). Affective Video Content Representation and Modeling. IEEE Transactions on Multimedia, 7(1), 143.
Hargreaves, D., &; North, A. (2010). Handbook of Music and Emotion: Theory, Research, Application. Oxford: Oxford Scholarship, 515-546.
Hedemann, C. L., Sorensen, A. C., &; Brown, A. R. (2008). Metascore: User interface design for generative film scoring. Australian computer music conference, Sydney. ACMA, 25-30.
Hobson, D. (1982). Crossroads: The drama of a soap opera. London: Methuen.
Hoeckner, B., Wyatt, E. W., Decety, J., &; Nusbaum, H. (2011). Film music influences how viewers relate to movie characters. Psychology of Aesthetics, Creativity, and the Arts, 5(2), 146-153.
Hsu, H.-C., &; Su, L. I. (2014). Love in disguise: Incongruity between text and music in song. Journal of Pragmatics, 62, 136–150.
Hsu, W.-C., &; Lai, H.-L. (2004). Effects of music on major depression in psychiatric inpatients. Archives of Psychiatric Nursing, 18(5), 193-199.
Juslin, P. N., &; Timmers, R. (2010). Expression and communication of emotion in music performance. In P. N. Juslin &; J. A. Sloboda, (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 453-489). New York: Oxford University Press.
Kagan, J. (1958). The concept of identification. Psychological Review, 65(5), 296-305.
Kawakami, A., Furukawa, K., Katahira, K., &; Okanoya, K. (2013). Sad music induces pleasant emotion. Frontiers in psychology, 4(311), 1-15.
Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology. Canadian Journal of Experimental Psychology/Revue canadienne de psychologie experimentale, 51(4), 336.
Lai, H.-L. (2004). Music preference and relaxation in Taiwanese elderly people. Geriatric Nursing, 25(5), 286-291.
Levinson, J. (1996). Contemplating Art: Essays in Aesthetics. Oxford: Clarendon Press.
Lundqvist, L.-O., Carlsson, F., Hilmersson, P., &; Juslin, P. N. (2009). Emotional responses to music: experience, expression, and physiology. Psychology of Music, 37(1), 61-90.
Mascelli, J. V. (1965). The Five C''s of Cinematography: Motion Picture Filming Techniques Simplified. Los Angeles: Silman-James Press.
Maslow, A. H., &; Pi, K. D. (1964). Religions, values, and peak-experiences. Westminster: Penguin Books Limited.
Nater, U. M., Abbruzzese, E., Krebs, M., &; Ehlert, U. (2006). Sex differences in emotional and psychophysiological responses to musical stimuli. International journal of psychophysiology, 62(2), 300-308.
Nattiez, J. J. (1990). Music and discourse: towards a semiology of music. Princeton, New Jersey: Princeton University Press.
Parrott, W. (2001). Emotions in social psychology: Essential readings. Brighton: Psychology Press.
Potter, W. J. (1992). How do Adolescents'' Perceptions of Television Reality Change over Time? Journalism &; Mass Communication Quarterly, 69(2), 392-405.
Privette, G. (1983). Peak experience, peak performance, and flow: A comparative analysis of positive human experiences. Journal of personality and social psychology, 45(6), 1361.
Quinlivan, D. (2012). The Place of Breath in Cinema. Edinburgh: Edinburgh University Press.
Rickard, N. S. (2004). Intense emotional responses to music: a test of the physiological arousal hypothesis. Psychology of Music, 32(4), 371-388.
Scherer, K. R., &; Zentner, M. R. (2001). Music and emotion: Theory and research. Oxford : Oxford University Press.
Schramm, H., &; Wirth, W. (2010). Exploring the paradox of sad-film enjoyment: The role of multiple appraisals and meta-appraisals. Poetics, 38(3), 319-335.
Shamay-Tsoory, S. G., Aharon-Peretz, J., &; Levkovitz, Y. (2007). The neuroanatomical basis of affective mentalizing in schizophrenia: comparison of patients with schizophrenia and patients with localized prefrontal lesions. Schizophrenia research, 90(1), 274-283.
Snyder, B. (2000). Music and memory: an introduction. London: Routledge Press.
Szpunar, K. K., Schellenberg, E. G., &; Pliner, P. (2004). Liking and memory for musical stimuli as a function of exposure. Journal of Experimental Psychology: Learning, Memory, and Cognition, 30(2), 370.
Vico, C., Guerra, P., Robles, H., Vila, J., &; Anllo-Vento, L. (2010). Affective processing of loved faces: Contributions from peripheral and central electrophysiology. Neuropsychologia, 48(10), 2894-2902.
Zillmann, D., &; Vorderer, P. (2000). Media entertainment: The psychology of its appeal. London: Routledge Press.
李佩真(1998)《偶像文本的消費意義: 迷與偶像關係之探討》。私立世新大學傳播研究所碩士論文。
梅衍儂(2012)《初探韓流下的偶像神話敘事-以 Super Junior 與 ELF 的想像關係與情感認同為例》。政治大學新聞研究所碩士論文。
陳芳英(2009)《戲曲論集: 抒情與敘事的對話》。台北:台北藝術大學。
鄭君仲(2001)《我迷,故我在─ 流行音樂樂迷和流行音樂文本互動關係之探索》。世新大學傳播研究所碩士論文。
謝涵如(2012)《台灣偶像劇的療癒系功能之探討─ 以,〈我可能不會愛你〉為例》。中國文化大學新聞學系碩士論文。
井迎兆(2006)《電影剪接美學: 說的藝術》。台北:三民書局出版社。
謝嘉幸(2002)《音樂分析》。北京: 高等教育出版社。
簡政珍(1993)《電影閱讀美學》。台北: 書林出版社。

第一頁 上一頁 下一頁 最後一頁 top
系統版面圖檔 系統版面圖檔